Reisijad () and Hobuseujutajad. Pannoo kavand () were composed. Along these, with the watercolours in soft tones that Ole brought from Paris, he also made colourful gouaches of Estonian landscapes, such as Lõuna-Eesti maastik () of 1932–1933. In the beginning of the 1930s Ole started painting portraits of Estonian cultural personalities of international standing. The series started with Dirigent Simmi portree () in 1931, which won the first prize of a national portrait contest. Others followed such as H. Visnapuu portree () and Kirjanik August Gailiti portree () in 1932, Fr. Tuglase portree () of between 1935 and 1942, and Konstantin Pätsi portree () of 1936. In 1937 Ole made a second study trip to Paris and after the trip he continued to paint landscapes, though it can be noticed, entwined with pastel colours, an increasing drama, as if sensing the new challenges that would face him in the near future. In 1941 Ole painted Narva Hermani kindlus (). The 1942 paintings Maastik rahutu taevaga () and Maastik tuulikuga () seem to close this phase of his work. North Scandinavian Landscapes In 1939 Ole married the philologist Helmi Metsvahi. As a consequence to the German occupation of Estonia during World War II (1941–1944) and fleeing the Soviet occupation of Estonia (1944), Ole left as a refugee to Finland in 1943, where he continued to paint portraits of personalities of Finnish cultural life, such as the ones of the linguist Lauri Kettunen and of Viljo Tarkiainen, biographer of Aleksis Kivi, and landscapes. His wife stayed in Estonia. However, fleeing the Continuation War between Finland and the Soviet Union in 1944, Ole moved to neutral Sweden and became a Swedish citizen in 1951. He was able to visit Estonia once again only in 1990, shortly before the restoration of Estonian independence. In Sweden Ole started working as illustrator for the Nordic Museum in Stockholm, taking part in a project to catalogue cultural monuments of Sweden, as well as some works of scientific nature. However, as he settled down and particularly after travelling to Lapland and northern Norway his style began to radically change. During those trips Ole's sensibility experienced a new type of light, powerful natural forms, contrasts of colour and structure, of rocks and water found on fjords. In fact, his next creative period is entirely centered in North Scandinavian landscape. Ole left his earlier calm and transcending planes of restrained